Talk week:
After talk week: Response from critique group
AESTHETIC OR ANTI AESTHETIC??..
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My work was looking at similar questions to
Samantha’s work – labour, similar materials, colour choices (intentional/
intuitive selection) and colour relationships), found materials
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Reference to handmade doilies
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Sense of temporality and fragility
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Not set or permanent
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Precious quality to work
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Value and quality
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Drawing base – continuous line
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Improvisation – making decisions as I go along
through the making process
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What was there to work with...not cutting or
changing the material
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Rhythm of the material
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Ritualised performance – continuous making of
the circles – if I decide to keep this process temporary
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Strip the colour right down? Or keep it intense
and large variety
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Rag rugs – tradition – clothes rolled up and
turned into a rug.
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Look more closely at my relationship to
craft - craft in contemporary art
(chicks on speed)
Artist:
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Polly Apfelbaum
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Kate Newby – Hopkinson Cundy
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Chicks on Speed
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Rosemary Trockle
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Contemporary activists group – filling cracks
with bright wool
Considering other installations
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My choice of floor: unsure about the wall and
the installation sitting in its shadow..it seems to be pushed up into the
corner, situational
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On the floor it references a rug due to its placement
and the materials used – try different supports to alter the reading of the
material or focus more on the materiality rather than its reference to its
everyday use.
Other options:
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Platforms? Trialling other supports
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Materiality: On the platform I could choose to
present wool that has a softer, more delicate, floating presence
Floor circle: denser, heavier/ weighty existence – rope,
heavy colour, hose, and extension cords
Hanging on the wall/entwined in something
to keep stable – wire...winding wool or rope, chains, cord..
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Have it wondering though the space
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Relating to different things in the space (the
floor, paint marks, dents or cable attachments in the ground
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Decisions on intensity – if I include lots of
colour and mass – when is it enough – less is more or more is more?
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Breaking up the circles – woven together –
separate or layered?
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Isolating two different circles – exploring
different ways in which the materials can talk to each other - ie. Dull old rough material, interacting
with high quality colourful material.....do I want to go into those ideas...?
·
CONSTRAINTS: placing constraints on my process/
interaction with the material to further understand their materiality
(strength), and what I want them to do/ tell the reader
How I incorporate the process of the activity –
how important is it in the final reading? Making permanent circles..or
temporary? What ideas I decide to highlight using these materials
Biennale
Sachiko Abe: Cut Papers # 13, 2012
Japanese artist Sachiko Abe cuts fine strips of paper for hours on end in her performance series titled Cut Papers. Having first discovered the calming effects of shredding paper over 15 years ago while admitted at an insane asylum, the artist now explores the act's meditative properties as an art form. Abe most recently performed Cut Papers #13 this year at the 18th Biennale of Sydney at Cockatoo Island.
Encircling herself in a fortress of tattered slivers of white paper, Abe says,
"The act of cutting is a constant exercise through which I organize and structure my random thoughts." It is through the repetitive, time-consuming process that the artist finds a peaceful state of mind. She goes on to say, "The rhythm of the scissors, the fineness and the length of the paper strip correspond to the process of my thinking, and its effect to the body. While essentially personal, Cut Papers is a necessary practice for me to formulate my relationship to the external world.
"The act defines and redefines the boundary between the self and the other, and helps to recover a meaningful relationship with one another. Complete silence and neutral white space allow the audience to focus purely on the sound of scissors and slight movement of the cut papers. The closed environment also invites the viewer to synchronize with the tide of emotion and contemplation created by the performance."
